Hollow Man is indeed brilliant in context and has a very nice OST!
I don't think that The 13th Warrior and The Mummy are better than Hollow Man. The Mummy is fun, but it is nothing compared to The Wind and the Lion or The Ghost and the Darkness. The best thing about it is the sublime OST which is the best representation imaginable, hiding many of the score's flaws. Having got the Intrada expansion I don't appreciate the score that much any more.
It's completely different with Star Trek: Nemesis which has a very bad droning OST, whereas the complete score is much livelier and more diverse.

Wow, the Deluxe Edition of Matrix sounds pretty fucked up. I did never buy it, because it was too expensive and not definitive. I would never spend that much on the second-hand market for a flawed special label release.
Or 3 CDs with an alternate mix of some cues on disc 3.

Nothing against Zimmer, but I would like to see such great directors as Christopher Nolan and Denis Villeneuve collaborating with other interesting composers:
Vangelis (Blade Runner)
Peter Gabriel (The Last Temptation of Christ)
John Murphy (28 Days Later)
Elliot Goldenthal (Alien 3)
Christopher Young (Hellraiser)
Trevor Jones (From Hell)
Howard Shore (Crash)
Cliff Martinez (Only God Forgives)
Any of these would offer a very fresh range of sound, if only they had the chance to be part of one of these movies more often.

I would still say 1991-1994, because 1984 and 1988 were two island years with a very weird output. 1989 and 1990 were too great to be included as a part of the bad period.
Which film composers would you call a "genius"?

Goldsmith from 1975-1985 might be the most creative and diverse decade that any musician ever had.
He had a really weird period from 1991-1995, where 90% of his worst scores can be found, but after that his output he became more interesting again and that is also the phase were his sonicly divine scores came from.